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Speculative Imperialisms: Monstrosity and Masquerade in Postracial Times explores the(settler) colonial ideologies underpinning the monstrous imaginings of contemporary popular culture in the Britain and the US. Through a close examination of District 9, Avatar, Doctor Who, Planet of the Apes, and steampunk culture, Susana Loza illuminates the durability of (settler) colonialism and how it operates through two linked yet distinct forms of racial mimicry: monsterization and minstrelsy. Speculative Imperialisms contemplates the fundamental, albeit changing, role that such racial simulations play in a putatively postracial and post-colonial era. It brings together the work on gender masquerade, racial minstrelsy, and postcolonial mimicry and puts it in dialogue with film, media, and cultural studies. This project draws upon the theoretical insights of Stuart Hall, Homi K. Bhabha, Edward Said, Philip Deloria, Michael Rogin, Eric Lott, Charles Mills, Falguni Sheth, Lorenzo Veracini, Adilifu Nama, Isiah Lavender III, Gwendolyn Foster, Marianna Torgovnick, Ann Laura Stoler, Anne McClintock, Eric Greene, Richard Dyer, and Ed Guerrero.
Examines how “Indianness” has propagated U.S. conceptions of empire
Joseph Schumpeter was not a member of the Austrian School, but he was an enormously creative classical liberal, and this 1919 book shows him at his best. He presents a theory of how states become empires and applies his insight to explaining many historical episodes. His account of the foreign policy of Imperial Rome reads like a critique of the US today. The second essay examines class mobility and political dynamics within a capitalistic society. Overall, a very important contribution to the literature of political economy.
Set between the rise of the U.S. and Japan as Pacific imperial powers in the 1890s and the aftermath of the latter’s defeat in World War II, Strange Fruit of the Black Pacific traces the interrelated migrations of African Americans, Japanese Americans, and Filipinos across U.S. domains. Offering readings in literature, blues and jazz culture, film,theatre, journalism, and private correspondence, Vince Schleitwiler considers how the collective yearnings and speculative destinies of these groups were bound together along what W.E.B. Du Bois called the world-belting color line. The links were forged by the paradoxical practices of race-making in an aspiring empire—benevolent uplift through tutelage, alongside overwhelming sexualized violence—which together comprise what Schleitwiler calls “imperialism’s racial justice.” This process could only be sustained through an ongoing training of perception in an aesthetics of racial terror, through rituals of racial and colonial violence that also provide the conditions for an elusive countertraining. With an innovative prose style, Strange Fruit of the Black Pacific pursues the poetic and ethical challenge of reading, or learning how to read, the black and Asian literatures that take form and flight within the fissures of imperialism’s racial justice. Through startling reinterpretations of such canonical writers as James Weldon Johnson, Nella Larsen, Toshio Mori, and Carlos Bulosan, alongside considerations of unexpected figures such as the musician Robert Johnson and the playwright Eulalie Spence, Schleitwiler seeks to reactivate the radical potential of the Afro-Asian imagination through graceful meditations on its representations of failure, loss, and overwhelming violence.
Re-assesses Germany's relationship with the wider world before 1914 by examining the connections between nationalism, transnationalism, imperialism and globalization.
How did Western imperialism shape the developing world? In Imperialism and the Developing World, Atul Kohli tackles this question by analyzing British and American influence on Asia, Africa, the Middle East, and Latin America from the age of the British East India Company to the most recent U.S. war in Iraq. He argues that both Britain and the U.S. expanded to enhance their national economic prosperity, and shows how Anglo-American expansionism hurt economic development in poor parts of the world. To clarify the causes and consequences of modern imperialism, Kohli first explains that there are two kinds of empires and analyzes the dynamics of both. Imperialism can refer to a formal, colonial empire such as Britain in the 19th century or an informal empire, wielding significant influence but not territorial control, such as the U.S. in the 20th century. Kohli contends that both have repeatedly undermined the prospects of steady economic progress in the global periphery, though to different degrees. Time and again, the pursuit of their own national economic prosperity led Britain and the U.S. to expand into peripheral areas of the world. Limiting the sovereignty of other states-and poor and weak states on the periphery in particular-was the main method of imperialism. For the British and American empires, this tactic ensured that peripheral economies would stay open and accessible to Anglo-American economic interests. Loss of sovereignty, however, greatly hurt the life chances of people living in Asia, the Middle East, Africa, and Latin America. As Kohli lays bare, sovereignty is an economic asset; it is a precondition for the emergence of states that can foster prosperous and inclusive industrial societies.
There are many elements in the concept of visual continuity, and they are all interrelated. In films or film series that are described as sequels, establishing a visual integrity relationship between films comes to the fore. The concept of the sequel appears in two ways. Sometimes, while the ideas are scripted, the story is divided into more than one part. Sometimes the story is planned as a single movie, and after a certain time, it can be realized as a follow-up movie/film for different reasons. In both systems of expression, it is necessary to seek harmony between all elements of visual design. Examinations and Analysis of Sequels and Serials in the Film Industry examines certain contents through the concepts of cinematography and narrative, focusing more on the practical side of cinema and partially on the theoretical side. It examines samples, sequels, serials, and trilogy universes on the axis of cinematography and narration. Covering topics such as film landscape, repeated narrative elements, and storytelling, this premier reference source is an excellent resource for film industry workers, film students and educators, sociologists, librarians, academicians, and researchers.
Popular music and masculinity have rarely been examined through the lens of research into monstrosity. The discourses associated with rock and pop, however, actually include more 'monsters' than might at first be imagined. Attention to such individuals and cultures can say things about the operation of genre and gender, myth and meaning. Indeed, monstrosity has recently become a growing focus of cultural theory. This is in part because monsters raise shared concerns about transgression, subjectivity, agency, and community. Attention to monstrosity evokes both the spectre of projection (which invokes familial trauma and psychoanalysis) and shared anxieties (that in turn reflect ideologies and beliefs). By pursuing a series of insightful case studies, Scary Monsters considers different aspects of the connection between music, gender and monstrosity. Its argument is that attention to monstrosity provides a unique perspective on the study of masculinity in popular music culture.